When about 10 million of your compatriots are strewn around appro
ximately 200 countries\, tropes of displacement and flux get invariably ban
died about so often that the subject plunges to cliché status and thus get
dismissed far too quickly. And yet the push and pull of diaspora remain ar
guably compelling\, making the case for Zamuco’s fascination with the volat
ile state of objects\, bodies\, and places as metaphor for his own in-betwe
eness patently logical. Setting up and packing house from the American Midw
est to the East Coast till finally returning to homebase in the Philippines
two months ago\, Zamuco’s fascination with the tenuousness of image and ra
mshackle materiality manifests this time around in Site of Marks in it’s li
terally shredded traces of the artists’ recent past alluding to tenements s
itting next door to edificies now increasingly becoming iconic of our own s
upposedly dragon-on-the-verge economy. These faux visceral space markers h
ope to beg questions of memory’s non-fixity and seminal corporeal and psych
ogeographic hindsight.